Dangdut is one of a growing genre of musical arts in Indonesia.
This musical form rooted in the Malay music in the 1940s. In the evolution to contemporary forms are now entering the influence of Indian music elements (mainly from the use of tabla) and Arabic (on crooked and harmonization). Changes in the flow of Indonesian politics in the late 1960s, opening the entry of the strong influence of western music with the inclusion of the use of electric guitar and also a form of marketing. Since the 1970's virtually dangdut has matured in its contemporary. As popular music, dangdut very open to influence of other musical forms, ranging from keroncong, style, gamelan, harp, rock, pop, and even house music.
Originally the term
Mention the name "dangdut" is a sound game onomatope of tabla (drum in the world called dangdut only) Indian music. Putu Wijaya was originally called the Tempo magazine edition of May 27, 1972 that the song Puppet from India is a mixture of Malay songs, the rhythm of the desert, and "ding-dang-dut" India. This title then summarized into "dangdut" only, and by the magazine used to call the form of Malay songs that are affected by the song of India.
From music to Malay Dangdut
Contemporary dangdut has been different from its roots, Malay music, though people can still feel his touch.
Malay Orchestra (commonly abbreviated as OM, the term is still often used for a dangdut music group) the original use of musical instruments like acoustic guitar, accordion, tambourine, harp, and flute, even a gong. In the 1950s and 1960s, many developing orchestra in Jakarta Malay-orchestra that plays songs from Sumatra Deli Malay (around Medan). At this time the experiment began to enter the entry of Indian elements in Malay music. The development of world cinema at that time and anti-Western politics of President Sukarno becomes fertilizer for these groups. From this time to note the names such as P. Ramlee (of Malaya), Said Effendi (with songs Seroja), Ellya (with style stage as dancers of India, the creator Dolls from India), Husein Bawafie (co-author of Lamentations songs Stepchildren), Munif Bahaswan (creator of Asmara expense), and M. Mashabi (composer score the film "Lamentations Stepchildren" is very popular in the 1970's.)
Musical style of this period still survive until the 1970s, although at that time major changes in the Malay music scene that was driven by a sonneta Group leader Rhoma Irama. Some of the names of the 1970s that can be called is Mansyur S., Ida Laila, A. Rafiq, and Muchsin Alatas. Malay popular music can be seen from the release of several Malay pop album by pop group Shania Twain in his prime.
Modern dangdut, which developed in the early 1970s in line with Indonesian political culture that is friendly to the West, include musical instruments such as the Western modern electric guitar, electric organ, percussion, trumpet, saxophone, oboe, etc. to increase the variation and as land-musicians musician creativity. Mandolin also entered as an important element. Effect of rock (especially the guitar) is very thick felt in the music dangdut. The 1970s were the scene of 'battle' for dangdut music and rock music in the music market seize Indonesia, to have held concerts 'duel' between the sonneta Group and God Bless. Practically since the time of this Malay music has changed, including the pattern of musical business.
In the latter half of the 1970s also developed variations of "dangdut humor" that was driven by OM Pancaran Sinar Petromaks (PSP). This orchestra, which departs from the style of music melayu deli, helping dangdut dissemination among the students. This subgenre forwarded, for example, by OM Pengantar Minum Racun (PMR) and, in the early 2000s, by Pemuda Harapan Bangsa (PHB).
Building songs
Although the songs dangdut can receive many other musical elements easily, building mostly very conservative dangdut songs, mostly composed of eight units of measure 4 / 4. Rarely found with a dangdut song bar 3 / 4, except on a few songs during the 1960s such as Bird Nuri and Seroja. Lagu dangdut too poor improvisation, both melody and harmony. As a dance music, dangdut rely heavily on tabla beats and syncope.
Building form dangdut song in general is: A - A - B-A,
but in most applications have a sequence like this:
Intro - A - A - Interlude - B (Reffrain) - D - Interlude - B (Reffrain) - A
Intro can be a vowel or a game without the accompaniment of flute, the rest is play guitar or mandolin. The length can reach eight-bar intro.
The initial part consists of eight bars, with or without repetition. If there is repetition, can be interrupted by a line break game (Interlude). This section is usually lyrical introduction to the content of the song, the situation faced by the singer. Drum or tabla, one of the major musical instrument dangdut
Dangdut song has no chorus standards, but has a second part with building a different melody with the first part. Before entering the second part there are usually two times the eight-bar breaks without lyrics (Interlude). The second part is usually along the eight-bar twice with one line was interrupted by a pause with no lyrics. At the end of the second part is sometimes found along the four-bar coda. Lyrics to the second part usually contains the consequences of the situation described the first part or the actions taken by the singer to address the situation.
After the second part, the song is repeated full from beginning to end. Dangdut song ends on the first repetition. Rarely dangdut song ends with a fade away.
Interactions with other music
Dangdut is very elastic in the face and affect other forms of music. Western songs popular in the 1960s and the 1970s many of the arrangements dangdut. Kasidah stringed musical genre and slowly drift off into the flow way dangdut music. The same thing happens in music Tarling from Cirebon, so that still exist at the moment is the form of mixtures: tarlingdut.
Rock, pop, disco, house fused with both the music dangdut. The flow of a mixture of rock music dangdut & unofficially called Rockdut. Similarly, this also happens with local music like jaipongan, gamelan, Tarling, keroncong, Java style (known as a musical form called congdut campur sari, with characters Didi Kempot), or zapin.
Easily dangdut receiving element 'foreign' making it vulnerable to other forms of piracy, as is the case against the songs of Bollywood-style films and latin songs. Kopi Dangdut, for example, is "pirated" a popular song from Venezuela.
Dangdut Indonesia in contemporary culture
By Rhoma Irama, dangdut serve as a preaching tool, which is clearly visible from the lyrics of his songs and his own stated by him. This has become one of the major triggers polemic culture in Indonesia in 2003 due to stage his protest against the style of dangdut singer from East Java, Inul Daratista, with its rocking ngebor labeled decadent and "moral damage".
Long before, dangdut has also been invited debate and ended with the banning of the stage in celebration Sekaten dangdut in Yogyakarta. The debate appears again and again due to the style of a stage singer (female) was considered too 'open' and low taste, so it does not fit with the mission Sekaten as a religious celebration.
Dangdut is widely agreed upon as the music that carries the aspirations of lower class society with all its simplicity and kelugasannya. Distinctive feature is reflected in the lyrics and song structure. Stage a sensational style is inseparable from this breath.
Stage of political party campaign also did not miss exploit the popularity of dangdut to attract the masses. Dangdut issue as a political tool also burst when Basofi Sudirman, at the time as Golkar functionaries, sing dangdut songs.
While dangdut associated with the grassroots who are poor, it does not mean popular dangdut only the lower class. In any event entertainment, dangdut certainly participate enliven the situation. Dangdut stage can easily be found in various places. Places of entertainment and special disco play dangdut songs found in many large cities. The radio station broadcast that states itself as "radio dangdut" is also easily found in various cities.
Figures
Here are the names of several prominent singer and songwriter of popular dangdut divided into three chronological groups, in accordance with the development of dangdut music.
Pre-1970s
* Hussein Bawafie
* Munif Bahaswan
* Ellya
* A. Harris
* M. Mashabi
* Said Effendi
* Johana Satar
* Hasnah Tahar
1970s
* A. Rafiq
* Rhoma Irama
* Elvy Sukaesih
* S. Mansour
* Mukhsin Alatas
* Meggy Z
* Herlina Effendi
* Reynold Panggabean
* Camelia Malik
* Ida Laila
* Rita Sugiarto
* Noer Halimah
After the 1970's
* Vetty Vera
* Nur Halimah
* Hamdan ATT
* Iis Dahlia
* Itje Tresnawaty
* Evie Tamala
* Ikke Nurjanah
* Kristina
* Cici Paramida
* Dewi Persik
* Inul Daratista
* Ridho Rhoma
* Iyeth Bustami
* Ine Shintya
* Saiful Jamil
* Erie Suzan
* Beniqno Aquino
* Nature
* Trio Macan
* Shamila
* Akhsay
* Irvan Mansour
* Melinda
Reference
Originally the term
Mention the name "dangdut" is a sound game onomatope of tabla (drum in the world called dangdut only) Indian music. Putu Wijaya was originally called the Tempo magazine edition of May 27, 1972 that the song Puppet from India is a mixture of Malay songs, the rhythm of the desert, and "ding-dang-dut" India. This title then summarized into "dangdut" only, and by the magazine used to call the form of Malay songs that are affected by the song of India.
From music to Malay Dangdut
Contemporary dangdut has been different from its roots, Malay music, though people can still feel his touch.
Malay Orchestra (commonly abbreviated as OM, the term is still often used for a dangdut music group) the original use of musical instruments like acoustic guitar, accordion, tambourine, harp, and flute, even a gong. In the 1950s and 1960s, many developing orchestra in Jakarta Malay-orchestra that plays songs from Sumatra Deli Malay (around Medan). At this time the experiment began to enter the entry of Indian elements in Malay music. The development of world cinema at that time and anti-Western politics of President Sukarno becomes fertilizer for these groups. From this time to note the names such as P. Ramlee (of Malaya), Said Effendi (with songs Seroja), Ellya (with style stage as dancers of India, the creator Dolls from India), Husein Bawafie (co-author of Lamentations songs Stepchildren), Munif Bahaswan (creator of Asmara expense), and M. Mashabi (composer score the film "Lamentations Stepchildren" is very popular in the 1970's.)
Musical style of this period still survive until the 1970s, although at that time major changes in the Malay music scene that was driven by a sonneta Group leader Rhoma Irama. Some of the names of the 1970s that can be called is Mansyur S., Ida Laila, A. Rafiq, and Muchsin Alatas. Malay popular music can be seen from the release of several Malay pop album by pop group Shania Twain in his prime.
Modern dangdut, which developed in the early 1970s in line with Indonesian political culture that is friendly to the West, include musical instruments such as the Western modern electric guitar, electric organ, percussion, trumpet, saxophone, oboe, etc. to increase the variation and as land-musicians musician creativity. Mandolin also entered as an important element. Effect of rock (especially the guitar) is very thick felt in the music dangdut. The 1970s were the scene of 'battle' for dangdut music and rock music in the music market seize Indonesia, to have held concerts 'duel' between the sonneta Group and God Bless. Practically since the time of this Malay music has changed, including the pattern of musical business.
In the latter half of the 1970s also developed variations of "dangdut humor" that was driven by OM Pancaran Sinar Petromaks (PSP). This orchestra, which departs from the style of music melayu deli, helping dangdut dissemination among the students. This subgenre forwarded, for example, by OM Pengantar Minum Racun (PMR) and, in the early 2000s, by Pemuda Harapan Bangsa (PHB).
Building songs
Although the songs dangdut can receive many other musical elements easily, building mostly very conservative dangdut songs, mostly composed of eight units of measure 4 / 4. Rarely found with a dangdut song bar 3 / 4, except on a few songs during the 1960s such as Bird Nuri and Seroja. Lagu dangdut too poor improvisation, both melody and harmony. As a dance music, dangdut rely heavily on tabla beats and syncope.
Building form dangdut song in general is: A - A - B-A,
but in most applications have a sequence like this:
Intro - A - A - Interlude - B (Reffrain) - D - Interlude - B (Reffrain) - A
Intro can be a vowel or a game without the accompaniment of flute, the rest is play guitar or mandolin. The length can reach eight-bar intro.
The initial part consists of eight bars, with or without repetition. If there is repetition, can be interrupted by a line break game (Interlude). This section is usually lyrical introduction to the content of the song, the situation faced by the singer. Drum or tabla, one of the major musical instrument dangdut
Dangdut song has no chorus standards, but has a second part with building a different melody with the first part. Before entering the second part there are usually two times the eight-bar breaks without lyrics (Interlude). The second part is usually along the eight-bar twice with one line was interrupted by a pause with no lyrics. At the end of the second part is sometimes found along the four-bar coda. Lyrics to the second part usually contains the consequences of the situation described the first part or the actions taken by the singer to address the situation.
After the second part, the song is repeated full from beginning to end. Dangdut song ends on the first repetition. Rarely dangdut song ends with a fade away.
Interactions with other music
Dangdut is very elastic in the face and affect other forms of music. Western songs popular in the 1960s and the 1970s many of the arrangements dangdut. Kasidah stringed musical genre and slowly drift off into the flow way dangdut music. The same thing happens in music Tarling from Cirebon, so that still exist at the moment is the form of mixtures: tarlingdut.
Rock, pop, disco, house fused with both the music dangdut. The flow of a mixture of rock music dangdut & unofficially called Rockdut. Similarly, this also happens with local music like jaipongan, gamelan, Tarling, keroncong, Java style (known as a musical form called congdut campur sari, with characters Didi Kempot), or zapin.
Easily dangdut receiving element 'foreign' making it vulnerable to other forms of piracy, as is the case against the songs of Bollywood-style films and latin songs. Kopi Dangdut, for example, is "pirated" a popular song from Venezuela.
Dangdut Indonesia in contemporary culture
By Rhoma Irama, dangdut serve as a preaching tool, which is clearly visible from the lyrics of his songs and his own stated by him. This has become one of the major triggers polemic culture in Indonesia in 2003 due to stage his protest against the style of dangdut singer from East Java, Inul Daratista, with its rocking ngebor labeled decadent and "moral damage".
Dangdut is widely agreed upon as the music that carries the aspirations of lower class society with all its simplicity and kelugasannya. Distinctive feature is reflected in the lyrics and song structure. Stage a sensational style is inseparable from this breath.
Stage of political party campaign also did not miss exploit the popularity of dangdut to attract the masses. Dangdut issue as a political tool also burst when Basofi Sudirman, at the time as Golkar functionaries, sing dangdut songs.
While dangdut associated with the grassroots who are poor, it does not mean popular dangdut only the lower class. In any event entertainment, dangdut certainly participate enliven the situation. Dangdut stage can easily be found in various places. Places of entertainment and special disco play dangdut songs found in many large cities. The radio station broadcast that states itself as "radio dangdut" is also easily found in various cities.
Figures
Here are the names of several prominent singer and songwriter of popular dangdut divided into three chronological groups, in accordance with the development of dangdut music.
Pre-1970s
* Hussein Bawafie
* Munif Bahaswan
* Ellya
* A. Harris
* M. Mashabi
* Said Effendi
* Johana Satar
* Hasnah Tahar
1970s
* A. Rafiq
* Rhoma Irama
* Elvy Sukaesih
* S. Mansour
* Mukhsin Alatas
* Meggy Z
* Herlina Effendi
* Reynold Panggabean
* Camelia Malik
* Ida Laila
* Rita Sugiarto
* Noer Halimah
After the 1970's
* Vetty Vera
* Nur Halimah
* Hamdan ATT
* Iis Dahlia
* Itje Tresnawaty
* Evie Tamala
* Ikke Nurjanah
* Kristina
* Cici Paramida
* Dewi Persik
* Inul Daratista
* Ridho Rhoma
* Iyeth Bustami
* Ine Shintya
* Saiful Jamil
* Erie Suzan
* Beniqno Aquino
* Nature
* Trio Macan
* Shamila
* Akhsay
* Irvan Mansour
* Melinda
Reference
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